Harmonic Minor and Augmented Chords - Revision history

Meambobbo: /* Augmented Chord */

2015-06-14T17:32:06Z

‎Augmented Chord

Meambobbo: /* Augmented Chord */

2015-06-14T17:13:41Z

‎Augmented Chord

Meambobbo: /* Changes to whole-half Pattern */

2015-06-14T17:10:54Z

‎Changes to whole-half Pattern

Meambobbo at 01:38, 12 June 2015

2015-06-12T01:38:16Z

Meambobbo at 20:12, 17 March 2015

2015-03-17T20:12:36Z

Meambobbo at 17:57, 4 March 2015

2015-03-04T17:57:05Z

Meambobbo: /* Homework */

2015-03-03T02:52:15Z

‎Homework

Meambobbo: /* Augmented Chord */

2015-03-02T22:33:28Z

‎Augmented Chord

Meambobbo: /* Augmented Chord */

2015-03-02T22:02:55Z

‎Augmented Chord

Meambobbo: /* Augmented Chord */

2015-03-02T22:02:36Z

‎Augmented Chord

@@ Line 204: / Line 204: @@
 |-
 ! Note 2
-| E || E || D{{s}}{{s}}
+| E || E || D{{ds}}
 |-
 ! Note 3
@@ Line 211: / Line 211: @@
 === Enharmonic Notes and Harmonic Function ===
-Two notes are '''enharmonic''' if they have the same pitch but are spelled differently.  For instance, B{{s}} and C are enharmonic, as are D{{s}}{{s}} and E.  It seems simplest to always use the least amount of sharps and flats possible, changing notes to their enharmonic equivalents.  This is a good approach where harmonic function is obvious and doing so would not be controversial, which is most of modern popular music.  However, in classical music, the note name often implies more than just a pitch, but a function.
+Two notes are '''enharmonic''' if they have the same pitch but are spelled differently.  For instance, B{{s}} and C are enharmonic, as are D{{ds}} and E.  It seems simplest to always use the least amount of sharps and flats possible, changing notes to their enharmonic equivalents.  This is a good approach where harmonic function is obvious and doing so would not be controversial, which is most of modern popular music.  However, in classical music, the note name often implies more than just a pitch, but a function.
 In the above example, the E+ and G+ chords are not diatonic to the key of Am.  Writing them as such instead of as inversions of C+ could be construed as a modulation into a different key, and that the E+ or G+ chords were not the III+ chord of A Harmonic minor and will function differently.

@@ Line 195: / Line 195: @@
   E---------------4---       E---------------4---
-Instead of saying C+/E (C+ 1st inversion), we could just as easily call that a E+ (E G{{s}} B{{s}}) - C and B{{s}} are enharmonic.  Similarly, C+/G{{s}} is the same pitches as G{{s}}+ (G{{s}} B{{s}} D{{s}}{{s}}), D{{s}}{{s}} = E.
+Instead of saying C+/E (C+ 1st inversion), we could just as easily call that a E+ (E G{{s}} B{{s}}) - C and B{{s}} are enharmonic.  Similarly, C+/G{{s}} is the same pitches as G{{s}}+ (G{{s}} B{{s}} D{{ds}}), D{{ds}} = E.
 {|class="wikitable"

@@ Line 51: / Line 51: @@
 By changing one of the notes, we change the whole-half sequence of the notes in the scale.  We now have:
-   w-h-w-w-h-(w+h)-h
+   w h w w h (w+h) h
   A B C D E F    G# A
    or
-   w-h-w-w-h-+--h
+   w h w w h +  h
   A B C D E F G# A

@@ Line 1: / Line 1: @@
 {{Top-Level Crumbs|1}}
+{{Lesson Crumbs|2}}
 {{Intermediate Lesson Crumbs|4}}

@@ Line 3: / Line 3: @@
 {{Intermediate Lesson Crumbs|4}}
-As noted in the [[Music Theory - Minor Keys|last lesson]], the dominant-function chords in natural minor do not contain the M7 or leading tone.  This makes them less tense or distant than dominant-function chords in a major key.  And thus the dominant - tonic progression has less resolution in natural minor than major.
+As noted in the [[Music Theory - Minor Keys|last lesson]], the dominant-function chords in natural minor do not contain the note a M7 above the root (ie half-step below), also known as the leading tone.  This makes them less tense or distant than dominant-function chords in a major key.  And thus the dominant - tonic progression has less resolution in natural minor than major.
-The <u>harmonic minor scale</u> seeks to remedy this by using the same notes as the natural minor scale, but sharping the 7th note to get the leading tone.
+The '''harmonic minor scale''' seeks to remedy this by using the same notes as the natural minor scale, but sharping the 7th note to get the leading tone.
 ''A harmonic minor key is typically marked with the shorthand "hm" after the tonic note name.''  For example, "C" is C Major, "Am" is A Minor (natural), and "Ahm" is A Harmonic Minor.
@@ Line 20: / Line 20: @@
 }}
-The A Harmonic Minor scale is thus A - B - C - D - E - F - G{{s}} - A.
+'''A Harmonic Minor''' is composed of A - B - C - D - E - F - G{{s}} - A.
 ===Open Position===
@@ Line 59: / Line 59: @@
 That (w+h) is 1 whole step + 1 half step, or 3 half-steps, or 1.5 whole steps (marked as "+" in whole-half patterns) .  And the scale itself now contains 3 half steps instead of 2.  Such 1.5 step jumps in a scale and numerous half-steps are more commonly associated with Eastern-sounding music.  When you play the scale, it should be quite apparent.
-Some composers value the scale simply for that Eastern sound.  Think of Kirk Hammet's solos in '''''Metallica''''' 's ''Wherever I May Roam''.
+Some composers value the scale simply for that Eastern sound.  Think of Kirk Hammet's solos in Metallica's ''Wherever I May Roam''.
 However, the classical usage was more focused on its impact on harmony (hence ''harmonic'' minor)...
@@ Line 73: / Line 73: @@
 }}
-The sharped 7th impacts the 3 dominant-function chords: the III, v, and VII.  This does not change their harmonic function - they still function as dominant chords "wanting" to resolve to tonic.  However, it does change the relative tension they create and the strength of their resolution to tonic, as the leading tone to tonic movement is a stronger resolution.
+The sharped 7th impacts the 3 dominant-function chords of natural minor: III, v, and VII.  This does not change their harmonic function - they still function as dominant chords "wanting" to resolve to tonic.  However, it does change the relative tension they create and the strength of their resolution to tonic, as the leading tone to tonic movement is a stronger resolution.
 {|class="wikitable"
@@ Line 141: / Line 141: @@
 Whoa? What's that III+ (C+) chord?  This is an augmented chord.
-An <u>augmented chord</u> consists of a root note, its major 3rd, and its augmented 5th.  The augmented fifth is the same distance as two major 3rds, so the chord consists of 2 major thirds and one augmented 5th (and their inverses).  While the major 3rds are quite harmonic, the augmented 5th is a bit less so - more similar to a minor 3rd.  But the real kicker is that we're missing the perfect 5th, which is the most harmonic interval.  Thus, the chord sounds quite weird.
+An '''augmented chord''' consists of a root note, its major 3rd, and its augmented 5th.  The augmented fifth is the same distance as two major 3rds, so the chord consists of 2 major thirds and one augmented 5th (and their inverses).  While the major 3rds are quite harmonic, the augmented 5th is a bit less so - more similar to a minor 3rd.  But the real kicker is that we're missing the perfect 5th, which is the most harmonic interval.  Thus, the chord sounds quite weird and unsettling, but not as dissonant as a diminished chord.
-Also, the distance from the augmented 5th to the octave is another major 3rd.  Thus, the augmented chord looks like a bunch of stacked M3 intervals.  Here are some fingering charts:
+Also, the distance from the augmented 5th to the octave is another major 3rd.  Thus, the augmented chord looks like a bunch of stacked M3 intervals.  This is demonstrated on a single string:
 {|
@@ Line 197: / Line 211: @@
 === Enharmonic Notes and Harmonic Function ===
-Two notes are <u>enharmonic</u> if they have the same pitch but are spelled differently.  For instance, B{{s}} and C are enharmonic, as are D{{s}}{{s}} and E.  It seems simplest to always use the least amount of sharps and flats possible, changing notes to their enharmonic equivalents.  This is a good approach where harmonic function is obvious and doing so would not be controversial, which is most of modern popular music.  However, in classical music, the note name often implies more than just a pitch, but a function.
+Two notes are '''enharmonic''' if they have the same pitch but are spelled differently.  For instance, B{{s}} and C are enharmonic, as are D{{s}}{{s}} and E.  It seems simplest to always use the least amount of sharps and flats possible, changing notes to their enharmonic equivalents.  This is a good approach where harmonic function is obvious and doing so would not be controversial, which is most of modern popular music.  However, in classical music, the note name often implies more than just a pitch, but a function.
 In the above example, the E+ and G+ chords are not diatonic to the key of Am.  Writing them as such instead of as inversions of C+ could be construed as a modulation into a different key, and that the E+ or G+ chords were not the III+ chord of A Harmonic minor and will function differently.

← Older revision		Revision as of 17:57, 4 March 2015
Line 6:		Line 6:

	The <u>harmonic minor scale</u> seeks to remedy this by using the same notes as the natural minor scale, but sharping the 7th note to get the leading tone.		The <u>harmonic minor scale</u> seeks to remedy this by using the same notes as the natural minor scale, but sharping the 7th note to get the leading tone.
		+
		+	''A harmonic minor key is typically marked with the shorthand "hm" after the tonic note name.'' For example, "C" is C Major, "Am" is A Minor (natural), and "Ahm" is A Harmonic Minor.

	== PreReqs ==		== PreReqs ==

← Older revision		Revision as of 02:52, 3 March 2015
Line 202:		Line 202:

	== Homework ==		== Homework ==
		+	* Know that the harmonic minor scale uses the same notes as the natural minor scale, but with a raised 7th (M7).
		+	* Know that the harmonic minor scale uses the same notes as the major scale, but with a flatted 3rd and 6th.
		+	* Know that the harmonic minor scale consists of the whole-half pattern w-h-w-w-h-+-h.
		+	* Practice the Ahm scale in open position, both one octave and all notes.
		+	* Know that the diatonic chords of the harmonic minor scale are i, ii{{dim}}, III+, iv, V, VI, vii{{dim}}.
		+	* Know that the diatonic dominant-function chords of the harmonic minor scale contain the leading tone (M7), which makes their dominant - tonic resolution stronger than natural minor.
		+	* Practice the chord progressions above, listening for the minor tonality with the strengthened dominant-tonic resolutions due to the raised 7th.
		+	* Know that an augmented chord consists of a root note and the M3 and A5 above.
		+	* Know that augmented chords consist entirely of M3 intervals between its member notes, including the augmented 5th to the octave.
		+	* Practice the augmented chord shapes above.
		+	* Know what enharmonic notes are and why their different spellings can suggest different harmonic functions.

	== Q & A ==		== Q & A ==

@@ Line 171: / Line 171: @@
 Although I call the last 2 examples inversions, they are identical to other root position augmented chords.  The distance between each note and those above and below it is always a M3.
-      C+    C+/E  C+/G#
+      C+    C+/E  C+/G#   or     C+    E+    G#+
-  E---------0---------
+  E---------0---------       E---------0---------
-  B---1-----1---------
+  B---1-----1---------       B---1-----1---------
-  G---1-----1-----1---
+  G---1-----1-----1---       G---1-----1-----1---
-  D---2-----2-----2---
+  D---2-----2-----2---       D---2-----2-----2---
-  A---3-----------3---
+  A---3-----------3---       A---3-----------3---
-  E---------------4---
+  E---------------4---       E---------------4---
 Instead of saying C+/E (C+ 1st inversion), we could just as easily call that a E+ (E G{{s}} B{{s}}) - C and B{{s}} are enharmonic.  Similarly, C+/G{{s}} is the same pitches as G{{s}}+ (G{{s}} B{{s}} D{{s}}{{s}}), D{{s}}{{s}} = E.
@@ Line 193: / Line 193: @@
 | G{{s}} || G{{s}} || G{{s}}
 |}
 {{top}}

@@ Line 182: / Line 182: @@
 {|class="wikitable"
-!! ! C+ !! E+ 2nd Inv. !! G{{s}}+ 1st Inv.
+! !! C+ !! E+ 2nd Inv. !! G{{s}}+ 1st Inv.
 |-
 ! Note 1